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{\rtf1\ansi {\colortbl;\red0\green0\blue0;\red0\green0\blue255;\red0\green255\blue255;\red0\green255\blue0;\red255\green0\blue255;\red255\green0\blue0;\red255\green255\blue0;\red255\green255\blue255;}{\fonttbl{\f0\froman\cpg0\fcharset0 Times New Roman;}{\f1\froman\cpg1252\fcharset0 Times New Roman;}{\f2\froman\cpg1251\fcharset204 Times New Roman;}{\f3\froman\cpg1250\fcharset238 Times New Roman;}{\f4\froman\cpg1257\fcharset186 Times New Roman;}{\f5\froman\cpg1254\fcharset162 Times New Roman;}{\f6\froman\cpg1253\fcharset161 Times New Roman;}{\f7\froman\cpg1255\fcharset177 Times New Roman;}}{\stylesheet {\sbasedon222\f1\fs20 Normal;}}\paperw12240\paperh15840\margl1366\margr5380\margt1440\margb720 \sectd \sbknone\pgwsxn12240\pghsxn15840\marglsxn3116\margrsxn5413\margtsxn1440\margbsxn720\cols2\colno1\colw1969\colsr1494\colno2\colw720 \pard \plain \cbpat8\ql\li0\fi0\ri0\sb0\sa0 \f1\fs20{\b0\i0\cf1\charscalex100\expndtw5\f1\cchs0\lang1033\fs20 HARSA AS AUTHOR}\par \column \pard \plain \cbpat8\ql\li0\fi0\ri0\sb61\sa0 \f1\fs20{\b0\i0\cf1\charscalex100\expndtw0\f1\cchs0\lang1033\fs20 3*3}\par \sect\sectd \sbknone\pgwsxn12240\pghsxn15840\marglsxn1366\margrsxn5380\margtsxn1440\margbsxn720\cols1\colsx60 \pard \plain \cbpat8\qj\li18\fi0\ri29\sb176\sa0\sl-238\slmult0 \f1\fs20{\b0\i0\cf1\charscalex100\expndtw-1\f1\cchs0\lang1033\fs24 Buddhist world; and kings vied with one another in their \expndtw3 liberality to equip and endow this great institution.\super 1 \nosupersub\expndtw1 Harsa's interest in literature is 'further evident from his \expndtw0 patronage of authors like Banabhatta, who wrote the \i\charscalex92 Harsatarita, \i0 first part of the \i Kddambart, Candlsataka, \i0 etc.; \charscalex100\expndtw-1 Mayura, whose chief contribution was the \i Suryafataka; \i0\expndtw0 and also Matanga-Divakara, a shadowy bard.}\par \pard \plain \cbpat8\ql\li22\fi0\ri0\sb144\sa0 \f1\fs20{\b0\i\cf1\charscalex84\expndtw8\f1\cchs0\lang1033\fs25 Harsa as author}\par \pard \plain \cbpat8\qj\li11\fi432\ri0\sb108\sa0\sl-241\slmult0 \f1\fs20{\b0\i0\cf1\charscalex100\expndtw-1\f1\cchs0\lang1033\fs24 But Harsa was not a mere detached patron of letters. He himself appears to have wielded the pen with no less \expndtw7 dexterity than the sword. Scholars generally ascribe \expndtw-2 to him the composition of three plays, viz., the \i Priya-\charscalex92\expndtw-1 darsikd, \i0 the \i \}Latndvali, \i0 and the \i Ndgananda. \i0 Bana cre\-\charscalex100\expndtw-2 dits him, with poetical skill of a high order;\super 2\nosupersub  moreover, \expndtw5 several ancient, writers, like Soddhala (nth century \expndtw1 A.D.)\super 3\nosupersub  and Jayadeva (lath caitury A.D.),\super 4\nosupersub  rank Harsa \expndtw-2 along with other literary monarchs and even with Bhasa, \expndtw1 Kalidasa, etc. Notwithstanding such references, the \expndtw5 authorship of these plays has been a matter of doubt \expndtw0 since quite early times. Mammata, a Kashmiri writer of \expndtw8 the nth century, and several scholiasts of the lyth \expndtw-2 century A.D.,\super 5\nosupersub  thought that they were composed by one \expndtw-1 Dhavaka in the name of Harsadeva for some monetary \expndtw1 consideration. In the face of these conflicting traditions \expndtw14 it is difficult to be dogmatic, but as royal literati \expndtw10 are not an unusual phenomenon in Indian history, \expndtw2 there is nothing intrinsically improbable in regarding \expndtw5 Harsa as an author. This does not, however, preclude \expndtw3 the possibility that some literary protege of Harsa may}\par \pard \plain \cbpat8\ql\li353\fi0\ri0\sb241\sa0\sl-202\slmult0 \f1\fs20{\b0\i0\super\cf1\charscalex100\expndtw-2\f1\cchs0\lang1033\fs20 1\nosupersub  See H. D. Sankalia, \i The University ofNalanda \i0 (Madras, 1934). \i\expndtw8 *Ht. C. T., \i0 pp. 58, 65.}\par \pard \plain \cbpat8\ql\li0\fi360\ri0\sb0\sa0\sl-202\slmult0\tx468 \f1\fs20{\b0\i0\super\cf1\charscalex100\expndtw0\f1\cchs0\lang1033\fs20 3{\charscalex100\expndtw0\tab }\nosupersub\i\expndtw3 Vdayasundan-kathSy   \i0 p. \i z, \i0 CD. Dalai & Krishnamacharya's\line \expndtw7 edition (Gaekwad's Oriental Series, no. n; Baroda, 1920).}\par \pard \plain \cbpat8\ql\li0\fi360\ri0\sb0\sa0\sl-202\slmult0\tx468 \f1\fs20{\b0\i0\super\cf1\charscalex100\expndtw0\f1\cchs0\lang1033\fs20 4{\charscalex100\expndtw0\tab }\nosupersub\i\expndtw3 Prasannaraghava,  \i0 Act I, Stanza 22, p. 10, ed. Paranjpye &\line \expndtw1 Panse (Poona, 1894).}\par \pard \plain \cbpat8\ql\li360\fi0\ri0\sb4\sa0\sl-202\slmult0\tx468 \f1\fs20{\b0\i0\super\cf1\charscalex84\expndtw0\f1\cchs0\lang1033\fs22 5{\charscalex100\expndtw0\tab }\nosupersub\i\expndtw4 e.g.\sub t\nosupersub  \i0 Nagoji in the \i Kavyajbradipoddyota, \i0 and Pararnananda.}\par }